Sick New World 2026

System of a Down es una banda estadounidense de metal alternativo de ascendencia armenia formada en Los Ángeles, California en el año 1995. Está compuesta por Serj Tankian, Daron Malakian, Shavarsh Odadjian y John Dolmayan.

Lead by their front man Chino Moreno, the quartet of Metal-Rock signed their return to our land with "Diamond Eyes", his sixth release, under his arm. These Californians who own devastating sound that nobody has been cataloged, leads them to be simply Deftones. Fifteen years after their first album, Deftones still remain alive, in force, surprising and surviving the ratings and becoming one of the most respected rock bands in the world, so says White Pony, Around the Fur and Saturday Night Wrist and it reaffirms "Diamond Eyes". Chino, Frank, Abe and Stephen delivered their best eleven tracks, qualified by Moreno, and critics and fans have supported such a large return of the rock band that knows how to make furious and elegant rock.

In 1981, when Slayer first formed in Huntington Park, CA, bassist/vocalist Tom Araya was 20 years old and worked as a respiratory therapist; guitarist Jert Hanneman, a rehearsal studio employee at the time, was 17; drummer Dave Lombardo was 16 and delivered pizza; and 17-year-old Kerry King was a full-time guitarist. At that time, there were no blueprints, no set paths, no boundaries or steps to follow; Slayer's new hybrid of metal and punk, heavier, faster, and darker than the rest, assaulted the world and set a new standard, defining not only a genre but an attitude. <br><br> Fast forward nearly 37 years and Slayer remains the preeminent punk-thrash metal band that other heavy acts are measured against and aspire to, and up-and-coming metal heads continue to revere and emulate. Slayer is a metal juggernaut, with songs that are dark, aggressive, and without mercy, mirroring the turmoil and aberrations of our society. <br><br> Their membership in "The Big Four"—Metallica, Slayer, Megadeth, and Anthrax—the four bands that defined the thrash/metal genre—secures the band's place in music history. The five-time nominated, two-time Grammy-winners have also accumulated an abundance of certified gold albums along with "Best" awards from media outlets all over the world, including Kerrangi, SPIN, Metal Hammer, Revolver, and Esquire. Slayer even has its own exhibit in the Smithsonian Institute. Throughout Slayer's history, the band has never faltered in unleashing its extreme and focused sonic assault, and, repudiating temptations, Slayer has chosen to remain crushing and brutal, steadfastly refusing to cater to the mainstream. Jeff Hanneman passed away in 2013, and Exodus guitarist Gary Holt has been filling in for him since. Paul Bostaph, Slayers drummer from 1992–1996, then 1997–2001, rejoined Araya and King in 2013 and remains behind the kit. <br><br> In September 2015, Slayer released Repentless, the band's 12th studio album, the first without Han-neman, the first with Holt on guitar, the first with producer Terry Date, and the first on Nuclear Blast Records, to widespread rave reviews and the highest chart debut of the band's career. The band also teamed up with director BJ McDonnell for three high-concept and brutal music videos for the album's title track, then for "You Against You," and the most recent, "Pride in Prejudice," racking up a combined 28+ million views. Dark Horse Comics published a three-issue comic book series in 2016, based on McDonnell's original story concept for the videos and written by "Metalocalypse" director Jon Schnepp. <br><br> On January 22, 2018, after a remarkable three-and-a-half decades, Slayer announced its decision to do one last world tour and then move on. <br><br> All Hail Slayer.

Evanescence’s third album is self titled for a reason: 15 years after its formation, the multi-platinum band has made the most collaborative, united album of its career. And it rocks. “Coming back together is such a beautiful and happy thing,” co-founder and lead singer Amy Lee says of making “Evanescence,” the group’s first album since 2006’s “The Open Door.” “We’d bring a song to the whole band and arrange it in a group. That’s something that really stands out against the other records. There’s a tight band at the center of everything, giving it a very tangible energy.” The cohesion is evident in every note. The album, produced by Nick Raskulinecz (Alice In Chains, Def Tones), packs a wallop with a unified vision that can only come from a group working together as a creative unit. Led by Lee’s operatic, passionate vocals, Evanescence has sold close to 25 million albums since its 2003 debut, “Fallen.” The project’s premiere single, “Bring Me To Life,” snagged the band a Grammy for best hard rock performance. Other massive hits followed, including “My Immortal,” “Going Under,” and “Call Me When You’re Sober,” establishing Evanescence as worldwide tour headliners. After a break following the conclusion of the tremendously successful tour behind “The Open Door,” the band— Lee, guitarists Terry Balsamo and Troy McLawhorn, bassist Tim McCord and drummer Will Hunt— came together to write a number of songs for “Evanescence” before heading to Nashville, where, under Raskulinecz’s tutelage, they penned another six songs. “We were just sitting on a little stage in a circle with Nick standing there air-shredding on a drumstick. He’d say, ‘Stop. After the bridge, why don’t you do a breakdown and then go into an instrumental thing.’ He directed us,” Lee recalls. “It was really good for us to have that outside perspective.” The group then retreated to Nashville’s Blackbird Studios to record. “Nick got it. He understood what we were going for,” Lee says. “The thing he was going to amp up was the band side, which was what we wanted to focus on.” “Evanescence” crackles with an urgency that seeps through each of the 12 tracks. Opening slab, the hard-driving “What You Want,” is about Lee’s decision to head back into the fray after the band’s hiatus. “It’s totally about going back to being in Evanescence,” she says. “It’s motivating myself not to be afraid. I’m writing about the chaos of life and that you can’t control all the crazy things that happen to you.” The stunning video for the single, helmed by award-winning director Meiert Avis from an idea conceived by Lee and her younger sister, Carrie, traces the history of the band combined with gothic imagery of New York. It ends with the group’s members walking into the ocean. “I can’t make a video without some water,” Lee laughs. “It’s either going to rain on me or I’m getting into the water. Here, it represents us moving on into this unknown thing; going into the future.” The wrenching “Lost In Paradise” opens with Lee’s haunting solo piano before exploding into a sweeping, string-laden tale of torment. “It’s the most intimate song on the album,” Lee says. “This song came out in a moment where I felt lost, I was at war within myself. It’s raw and open.” “It was Nick’s idea for the band to come in where they do,” Lee says. “I love how big and important it’s become for all of us. It started out as this tiny, raw thing and it’s become one of my favorite songs.” Heavy, chugging guitars propel “The Other Side,” a story of love that survives whatever tries to destroy it, including death, while the rhythmic, multi-layered “My Heart Is Broken” takes the listener on a journey of escape. “That was inspired by victims of sex trafficking,” Lee reveals. “It’s about trying to find your way out.” The album closes with a last-minute addition: the dreamy, atmospheric “Swimming Home,” a tune that exposes a side of Evanescence that fans have never seen. “That song is the biggest departure,” Lee says. “It came from a phase when I was making music that was ethereal and programming driven. Thematically, “Swimming” addresses “crossing over into the next life. It’s the bittersweet acceptance.” The break between “The Open Door” and “Evanescence” provided the band with much-deserved rest, but also some clarity as to how important what they had created meant to them. “I do have a new perspective and a big part of that for me was being able to step away and knowing for certain that I’m here making this record because I love what I do,” Lee says. Lee spent her time away from the band with her new husband and learning how to lead a “normal” adult life in her adopted hometown of New York City. “Evanescence is my life’s work. I’ve been working on it since I was a young teenager,” Lee says. “By the time we finishing touring ‘The Open Door,’ I just wanted to nest a little bit... and build a life that didn’t revolve around my being in Evanescence.” But then the muse came calling and Lee and her bandmates felt an urgent need to express what was building inside of them. “The reason our music is epic and dramatic is because the biggest emotions that I ever feel, the music is the only way to get them out of my heart,” Lee says. “Words alone aren’t enough. It heals my heart to make music.” Now, Evanescence’s thoughts have turned to returning to the road. “This record is so geared for live shows,” Lee says. “We were thinking about playing live the whole time we were writing it.” Making the return all the sweeter are the fans. “I can’t describe how great it feels to have their support. I love so much meeting them before and after the show. If feels like they’re growing with us,” says Lee. Though already superstars, Lee and her bandmates have the enthusiasm of newcomers as they look to a future that is brimming with possibility through “Evanescence.” “This moment right now between us and the fans, it feels like a celebration, a homecoming, a family reunion,” Lee says. “We’re so happy to be back.”

<p> <strong>MINISTRY</strong> ’s <strong>Al Jourgensen</strong>, the acclaimed pioneer of industrial music, doesn’t muck around, doesn't sugar-coat, doesn't pull punches. He’s highly opinionated, exceptionally well read and articulate on subjects ranging from politics to alien conspiracies to American history to his beloved Chicago Blackhawks/Bulls/White Sox/Bears. He is an avid follower of NASA scientist <strong>David S. McKay</strong>, ancient civilizations scholar <strong>Zecharia Sitchin</strong>, astrophysicist <strong>Neil deGrasse Tyson</strong>, and Scottish writer/archaeologist/scientist <strong>Graham Hancock</strong>. During a layover at the Las Vegas airport this past summer,<strong>Jourgensen</strong> spotted U.S. Congressman <strong>Adam Schiff</strong>, introduced himself, and took full advantage of the encounter to let the Congressman know of his views on tax reform and the possible perils of redistribution of wealth, the current obstruction of the “Russia-gate” investigation by the House Intelligence Committee lead by Republican Chair Devin Nunes, and to inquire about the status of the possible impeachment of the President, on not only obstruction and collusion charges, but for treason. </p> <p> You see, <strong>Al Jourgensen</strong> is angry, really angry about what’s going on in America - sexual abuse and the disrespect of women in our society, the waning respect for the U.S. Constitution, the growing acceptance of one's opinions replacing facts, the decline of the our leaders’ sense of morals, ethics and personal responsibility to the country and to their constituents, and the mad man in the White House. Yeah,<strong>Al</strong> is angry, and that takes us straight to <strong>MINISTRY’s</strong> upcoming album »<strong>AmeriKKKant</strong>«. </p> <p> Before all of that, the industrial machine that is <strong>MINISTRY</strong> has manufactured immense amounts of sound during its 30+ years of musical artistry. Initially coming into existence in 1981, <strong>MINISTRY</strong> was to be the lifetime passion project of front runner and founder <strong>Al Jourgensen</strong>. Often associated with ideas and imagery that are easily recognized today, in part because of <strong>Jourgensen</strong>’s insanely dreaded hair, pitch black attire, vampiric glasses, and exquisite top hat, the band has become incredibly symbolic. But like any creature cursed with the gift of creativity, “Uncle Al” has shed his skin several times over the decades. The development of <strong>MINISTRY</strong> and all of <strong>Al Jourgensen</strong> projects has been purely organic, which is a huge reason why the masses following his projects are so vast. </p> <p> Often referred to as one of the founders of Industrial Music, the true outlook of<strong> MINISTRY</strong> as well as <strong>Jourgensen</strong> 's other projects, is far more fluid than just one specific genre.<strong>SURGICAL METH MACHINE, REVOLTING COCKS,</strong> and anything <strong>Al “Fucking” Jourgensen</strong> has produced all explore different realms of sound and thought. </p> <p> In the year 1981 in Chicago Illinois, <strong>MINISTRY</strong> was initially born. With an original line up of <strong>Al Jourgensen</strong> doing lead vocals, guitar, programming and overall production, <strong>Stephen George</strong> on drums, <strong>Robert Roberts</strong> on keyboards and backing vocals, and <strong>John Davis</strong> also on keyboards and backing vocals. New sounds were constantly being developed in the 80’s especially as technology improved. At first the band had a very catchy, synth-pop sound. They began by releasing four 12” singles on<em>Wax Track! Records</em> starting in 1981, and released their first LP <strong>»With Sympathy«</strong> in 1983 via <em>Arista Records</em>. </p> <p> As time progressed however, so did <strong>MINISTRY</strong>, and they quickly developed a harsher, and even more stylized industrial sound that they soon became infamous for. In the mid to late 80’s the band gained a progressively greater following as it released albums<strong>»Twitch«</strong> (1986),<strong>»The Land of Rape and Honey«</strong><em> </em>(1988), and <strong>»The Mind Is A Terrible Thing To Taste«</strong> (1989). The darker, heavier sound that <strong>MINISTRY</strong> had developed into was often a direct reflection upon modern concepts, society, and politics. It was also during this time that <strong>Al Jourgensen</strong> himself reached one of his many peaks of creativity and branched off into what would be one of his many side-projects: <strong>REVOLTING COCKS.</strong> He also began producing a vast amount of other music by artists similar to his realm in one way or another such as <strong> NIVEK OGRE/SKINNY PUPPY, THE REVEREND HORTON HEAT, NINE INCH NAILS, SMASHING PUMPKINS, CHEAP TRICK </strong> and <strong>RED HOT CHILI PEPPERS</strong>. With the release of <strong>»Psalm 69: The Way to Succeed and The Way to Suck Eggs« </strong> (1992), <strong>MINISTRY</strong> hit an all-time high in the mainstream musical realm and even received a Grammy nomination.<strong>»Filth Pig«</strong> was released in 1994 and by then <strong>MINISTRY</strong> had not only grown a solid fanbase, but a solid reputation as well. </p> <p> Famous for a hellaciously unique talent and sound, pure heinous insanity while on tour, and endless energy filled performances at countless festivals, <strong>MINISTRY</strong> had developed a cult following and would go on to release several more records throughout the years before eventually taking a hiatus. On December 23rd, 2012 then guitarist <strong>Mike Scaccia</strong> suffered a heart attack and passed away. It was not long after this that <strong>Jourgensen</strong> took what was to be an indefinite leave from doing anything <strong>MINISTRY</strong> related as he could not bare to continue without <strong>Scaccia</strong>. It wasn’t until recently that Jourgensen decided that if the circumstances were right, he would consider reawakening <strong>MINISTRY</strong> to release something new to the world. </p> <p> Now, in 2017<strong> MINISTRY</strong> has reunited, revamped its line-up, signed to <em>Nuclear Blast Records</em>, recently returned from a full world tour, and is now preparing to release their 14th studio album, » <strong>AmeriKKKant«</strong><em>,</em> on <strong>March 9th 2018</strong>. Society and Politics have taken a turn for the insane and frightening in the United States and across the globe, leaving much inspiration and frustration for <strong>MINISTRY</strong> to draw from. <strong>Jourgensen</strong> remembers his shock while witnessing everyone and everything around him during the recent election process, and awoke on the morning of November 9th 2016 proclaiming: “We are making a fuckin’ album - <em>right</em> now.” </p> <p> »<strong>AmeriKKKant«,</strong><em> </em>like all <strong>MINISTRY</strong> projects, is an organic reflection of not just the band’s talent and sounds, but of the society in which we all live and breathe. <strong>Jourgensen</strong> says <em> “I’ve spoken my piece on the societal conditions that would elect such a blithering idiot. It’s not an anti-Trump album, it’s like a- ‘did you pay attention in school? Does anybody have any intellectual curiosity anymore?’- album. [It’s] basically just holding up a mirror to ourselves and saying: ‘Look at this, is this what you really want to be?’” </em> </p> <p> With a new line up, incredibly full sound, and some might say a return to the roots of <strong>MINISTRY</strong>, the band is prepared to release a record that is socially relevant and sonically effective. Fans can look forward to a hearty future for not just <strong>MINISTRY</strong>, but<strong>SURGICAL METH MACHINE</strong>, and <strong>REVOLTING COCKS</strong><em> </em>as well. There is simply too much insanity in this world for Jourgensen not to speak his mind and keep our senses alive with his vast array of decibels and visuals: <em> “I’m afraid for the stupidity of not embracing nonsense. I think nonsense is a great escape from the rigors of being in life’s hamster wheel.” </em> <strong><em></em></strong> </p>

Although they didn't reach platinum status until 2003, hardcore punk revivalists AFI originally formed in 1991, when the band's four founding members -- vocalist Davey Havok, guitarist Markus Stopholese, bassist Vic Chalker, and drummer Adam Carson -- were attending high school in Ukiah, California. Chalker was replaced by Geoff Kresge after eight months, and the band played several local gigs and released a split 7", Dork, with fellow Ukiah natives Loose Change (a band that incidentally included future AFI member Jade Puget). An EP titled Behind the Times was released as well. The bandmembers then split up to attend different colleges, with Kresge temporarily moving to New Jersey to join Blanks 77. However, AFI reconvened during a holiday break to play a one-off reunion show, and audience response was so positive that the bandmembers decided to quit school and concentrate on music full-time. <br><br> AFI (whose abbreviation stands for "A Fire Inside") issued several singles before securing a record deal with the Nitro label, which issued the band's second album, Very Proud of Ya, in 1996. Two LPs followed in 1997 -- a re-release of their 1995 debut, Answer That &amp; Stay Fashionable, and Shut Your Mouth &amp; Open Your Eyes -- and personnel shifts ensued. Kresge was the first to leave, being replaced by bassist Hunter Burgan, and Stopholese departed in favor of ex-Redemption 87 guitarist Jade Puget, who then shared songwriting duties with Havok. The new lineup recorded an EP titled A Fire Inside in 1998, and issued a noticeably more mature full-length in 1999, Black Sails in the Sunset; 1999 also saw the release of the All Hallow's EP before The Art of Drowning followed a year later. Though already owning a fiercely loyal core base of fans, the latter album saw the band's music attracting an even larger audience, due in part to the moderate success of the single "Days of the Phoenix." Accordingly, it was the first album to chart in the Billboard 200. <br><br> At the onset of the new millennium, AFI hooked up with producers Jerry Finn and Garbage's Butch Vig for a new set of recording sessions. The end result was the ambitious Sing the Sorrow, AFI's major-label debut for DreamWorks, which showcased the band's significant growth since its early hardcore days. Released in 2003, the record also marked AFI's crossover into the mainstream, and Sing the Sorrow eventually went platinum as several singles found airplay on MTV. Working again with Jerry Finn (who had also produced records for blink-182 and Green Day), the band's follow-up release was its most labor-intensive to date, resulting from two years of detailed songwriting. Decemberunderground, AFI's seventh album, surfaced in 2006 on the Interscope label. The album was an instant success, debuting at number one on the Billboard charts and launching a summer-long tour, followed by a string of overseas performances in October. <br><br> While on tour, Havok and Puget dedicated their spare time to a side project that would eventually become Blaqk Audio, which they debuted in early 2007. AFI released the concert album I Heard a Voice: Live from Long Beach Arena later that same year, but the bandmates continued pursuing their own projects, with Hunter Burgan playing bass for several other bands while Jade Puget did remix work for the likes of the Cure. AFI properly reconvened in 2008 to begin writing new material; by November, they had announced their intention to begin recording with producer David Bottrill. Two months later, they traded Bottrill for a pair of new producers -- Joe McGrath and Jacknife Lee -- and continued working on the album, focusing on songs that were harder than those found on Decemberunderground. The result, Crash Love, their most straight-ahead rock record to date, was released in September 2009 and was another success, though it did not chart as highly or sell as well as the previous two albums. AFI toured extensively throughout 2010 to promote the release before going quiet for a couple of years. In 2013 they announced they would be returning with a new album, Burials, in October of that year. Produced by Gil Norton, the album was preceded by a number of singles including the thrilling, melodic pop-punk anthem "17 Crimes."

For the six men in UNDEROATH, whose members have evolved and thrived during a decade-long progression that has elevated them into one of heavy music’s biggest successes, change has been ubiquitous. 2010 has been no exception for the Tampa-based sextet, who underwent and overcame what many consider their most significant line-up alteration yet. Yet in doing so, UNDEROATH experienced an artistic rebirth in the form of Ø (DISAMBIGUATION), its triumphant fifth album for Solid State/Tooth &amp; Nail.

<p>For the past 20 years, the Maryland foursome has fused heavy metal, punk and even blues and funk into their stoner-friendly hard rock stew. They recently reissued deluxe versions of three records from the mid 00s and are currently at work on their 10th album, with a handful of tracks finding their into the band's Forecastle set. </p>

You know it's Down as soon as you hear them. That's the way it's always been, and nothing will ever change that. There's no mistaking those gargantuan riffs, swamp blues leads, crashing drums, and hypnotic howls for absolutely anybody else under the sun. Philip H. Anselmo, Pepper Keenan, Jimmy Bower, Pat Bruders, and Bobby Landgraf uphold a certain tradition that countless fans celebrate, expanding their own musical mythos as they leave its pillars intact and untouched. With a collective resume encompassing Pantera, Corrosion of Conformity, and Eyehategod, the quintet puffed out its first haze of sonic smoke from the belly of gritty old New Orleans on the 1995 platinum-selling classic, Nola. At that moment, they naturally summoned something akin to a ritual, continually partaking in it with critically revered offerings—Down II: A Bustle In Your Hedgerow in 2002, Down III: Over the Under in 2007, and Down IV – Part One in 2012. Their shows built a certain live lore with unforgettable runs alongside Metallica and Heaven &amp; Hell as well as coveted spots on Download, Soundwave, and OZZfest. On 2014's Down IV - Part Two [Available via Down Records/ADA-Music], the boys once again deliver passionate, powerful, and pure heavy music. You won't simply know it when you hear it, you'll feel it as well. When Down retreated to "Nodferatu's Lair" at Anselmo's Lousiana home in the fall of 2013, things had changed a bit. For the first time in the band's storied career, Kirk Windstein wouldn't be handling guitar duties alongside Keenan. Instead, longtime "family" member, stage manager, and Honky guitarist Landgraf took the reins. "He was immediately at home," affirms Anselmo. "Bobby had always been that guy in case of anything. Knowing his personality, he really locked in with what we do and took it to heart. He made himself belong. Honestly, the first day he came down he contributed a very strong riff to a key song. There's that Southern element, which is imperative. I also catch a real old heavy metal vibe from this record. I can't stress this enough. He took it all on, and he did a fucking awesome job." Keenan adds, "Even with the lineup differences, it's interesting how the songs still sound very Down. Bobby and I have always locked in. It's not just physically either, but mentally as well. We see eye-to-eye, and he's been watching for a long time." "It was a big deal for me," beams Landgraf. "I drove ten hours up from Texas that first day, cracked a beer, and plugged in. We jumped right into the room, and I played this part. They all smiled. That was the moment for me. I'm a longtime fan, and I knew we were friends, but being a part of the writing and working towards something together was just incredible. As a guitar player, one of my goals was to be in a group like this. I want to make everyone proud." The fans will undoubtedly take pride in this collection as well. Making good on Down's promise of a series of EPs, the second installment sees a pronounced progression amongst the individuals themselves as well. "We wanted to back up our word as far as releasing these EPs," Anselmo goes on. "Everybody was fixated on that. This is the shortest period of time between our releases, and every one stepped it up and upped his game. Keenan, Bower, Bruders and Landgraf all contributed some excellent riffs. Having all of this fresh input makes for a different listen and a new perspective on what Down should and does sound like. All of that yields a unique record off the bat." Bursting out of the gate, "We Knew Him Well" rolls from a calculated buildup into a pummeling hook. Originally a riff by Bower, it preserves the hallmarks of the band's style, while giving a fitting glimpse of what's to come from the five-song set. "I think it represents Down very well," says Anselmo. "There's a very New Orleans backbone and swing to the song. It's slow and heavy, but it feels upbeat. There's no hesitation. It's a badass motherfucker." Elsewhere on the album, the slow simmer of "Conjure" worships at the altars of Sabbath and Witchfinder General, painting an ethereal picture that's instantly hypnotic. "The dynamic shifts throughout the album," he continues. "This one is very Black Sabbath, and I make no bones about that. Without them, we wouldn't be here, but that's an obvious statement. It's got a Sabb'ed out vibe. Dynamically, it feels very different from song to song. They're separate angles on our strong points." In between all of the six-string thundering, there are moments of reprieve as well. At one point in the middle of the record, Keenan even plays a gently melancholic acoustic melody as the darkness subsides. "That was very spur of the moment," the singer adds. "It was something Pepper and I agreed upon. During the last day of tracking, he grabbed this miniature tiny acoustic instrument. I don't even think it had fucking six strings. He came up with this really haunting and nice piece that's one-hundred percent acoustic. Somehow, it coincided with this hook I had in mind. We did it the last day of recording." "I whipped out my secret weapon," laughs Keenan. "It's a ukulele with nylon strings tuned open that I use to play songs for my daughter. I had a bunch of metal heads breathing down my neck, but I came up with it on the spot. It's what I would call, 'your classic campfire recording'. It's as organic as can be." However, everything culminates on the cataclysmic catharsis of the conclusion, "Bacchanalia." Stretching past the 8-minute mark, the track eclipses the band's ethos, while hinting at the future. Anselmo reveals, "It's related to the god Bacchus. He's the lord of all wine, drink, and festivity. It's a song in praise of the enjoyment of life. It also opens the door for what's up ahead." For the future, Down's sights are set on endless touring. Landgraf made his formal stage debut when the band headlined Anselmo's first annual Housecore Horror Film Festival in front of a packed audience of the faithful in October 2013. Now, it's just about bringing that inimitable sound everywhere possible. "In the big scheme of all things metal, Down is a band that puts it out there without compromise," concludes Keenan. "I hope people see we do not follow and we speak the truth—not to mention rip your head off." Anselmo leaves off, "We have a hardcore following, and that's good enough for me right there. On a personal level we had a goddamn good time making this record. I love that. At the end of the day, I don't think there's any denying this could be another band after a good listen. You'll know it's obviously fucking Down." – Rick Florino, February 2014

<p>She Wants Revenge is an American music group, based in San Fernando Valley, California. They released their debut album in early 2006, which spawned three successful singles. The music video of "Tear You Apart", directed by Joaquin Phoenix, gained heavy rotation on music channels.<br><br>The band's second album, This Is Forever, was released on October 9, 2007. </p><p>She Wants Revenge's sound is influenced by '80s bands and acts like Prince, Erik B and Rakim, Joy Division, New Order, The Cure, Danse Society, Depeche Mode, and Suicide. The lyrical content heavily suggests a tongue-in-cheek parody of teenage angst and high school notebook poetry, with a vocal delivery sometimes reminiscent of vintage hip hop.</p>

Boy Harsher is a dark electronic duo that produces gritty dance beats infused with ethereal vocals, creating a sound that is eerie, intense and incredibly danceable. Augustus Muller develops the underbelly of sound with minimal beats and grinding synths, where Jae Matthews whispers, screams and chants on top. Together, the music created is somewhere between industrial, drone and confessional storytelling. Muller and Matthews both have a strong background in film and their cinematic approach translates effectively in both their recordings and live performance. Boy Harsher started in early 2013 under the name Teen Dreamz. The project was based on short stories written and read by Matthews then live scored by Muller. As the project matured the instrumentals became more dance influenced and Matthews’ delivery became more dynamic and spontaneous. In January of 2014 Teen Dreamz took on the moniker Boy Harsher. Boy Harsher just released an EP called 'Country Girl' on Ascetic House (Oct 2017), and are working on a full album, planned to be released in 2018.

Wage War have forged an ironclad hybrid of battering ram grooves, gnashing guitars, and melodic hooks in the heat of those extremes. Following the most trying year in recent memory, the Florida quintet—Briton Bond [lead vocals], Cody Quistad [rhythm guitar, clean vocals], Seth Blake [lead guitar], Chris Gaylord [bass], and Stephen Kluesener [drums]—only strengthened their creative bond on their fourth full-length offering, ‘Manic’ [Fearless Records]. Musically, the band struck a seamless balance between bludgeoning grooves, soaring melodies, electronic fits, and battering ram riffs, straining their past, present, and future into one cohesive statement. Thematically, they confronted everything from personal struggles to trolls and two-faced friends. After amassing nearly 300 million streams and receiving widespread acclaim from Billboard, Loudwire, Alternative Press, and more, the group delivered eleven anthems meant to connect through turbulence. “Manic’ encompasses everything we’ve gone through as musicians in the last year-and-a-half,” exclaims Stephen. “The whole industry halted, and we technically lost our jobs. Our scene was among the first to leave and the last to come back. The album captures the whole period. That’s how I’d describe ‘Manic.’” “Mania is a wild emotion,” observes Cody. “The last year was all severe highs and lows. We had some victories, but we’ve also had so many low points. We’ve built this thing for the last ten years and put all of our chips into it. We’ve missed birthdays and funerals, but we’ve done some extraordinary things. Last year, we found ourselves wondering if it would ever come back. That’s really what the album is about. ”’Manic’ represents the apex of an intense creative journey. They built a diehard audience with ‘Blueprints’ [2015] and ‘Deadweight’ [2017] and through incessant touring. 2019’s ‘Pressure’ exploded right out of the gate. “Low” piled on 23 million streams with “Who I Am” at 12 million streams and “Me Against Myself” at 8 million streams. Beyond bringing their total stream tally past ­a-quarter-of-a-billion, it landed on Loudwire’s “50 Best Metal Albums of 2019,” while New Noise Magazine graded it “4-out-of-5 stars” and Alternative Press raved, “Wage War are unapologetically changing the game on all fronts on ‘Pressure’.”

Coal Chamber is an American nu metal band formed in Los Angeles, California, in 1993. Prior to Coal Chamber, Dez Fafara and Meegs Rascón formed the band She's In Pain in 1992. The two decided to create Coal Chamber. They disbanded in 2003 after ten years together, but announced a reunion in September 2011. Their first drummer, John Thor, was eventually replaced by Mike Cox (who beat out his older brother for the spot). After bass guitarist Rayna Foss joined, the Coal Chamber lineup was complete. In 1997, their first album, Coal Chamber, was released. They toured very heavily supporting this album. The album produced one single and a video, "Loco". The video was also added as an extra after the ending credits of Dee Snider's film, Strangeland. The band also recorded an exclusive song for the soundtrack, titled "Not Living". Chamber Music followed two years later. Between the two releases and after the band's tour with the metal act Sevendust, bass guitarist Rayna Foss married Sevendust's drummer Morgan Rose and became pregnant, necessitating another bass guitar player on tour, a role filled by Nadja Peulen. In September 2011, it was announced that Fafara, Cox and Rascón would reform the band with bass guitarist Chela Rhea Harper, to play the Soundwave shows in Australia. Asked in October 2012 about the current status of Coal Chamber, Fafara stated that they are "taking it slow", partly due to his commitments with DevilDriver. He also stated that the band has begun writing new material. On the 3rd of December it was announced that they would be performing at Download 2013.

For A Tear in the Fabric of Life, Knocked Loose wanted to do something different. Or they may have been forced to. With quarantine upending their extensive touring schedule — “we’ve kind of been consistently on the road since 2014,” says vocalist Bryan Garris — the group found themselves in early 2020 sequestered near Louisville, in Oldham County, Ky., where they’re from. By June, they were hunkered down in a cabin in Pigeon Forge, Tenn., focused on writing a concept album. By the end of September they had finished recording. <br><br> What they came up with is a six song-EP that expands on the narratives hinted at on A Different Shade of Blue, their 2019 full length, and grows beyond them sonically. It’s the band’s most dynamic and contained offering to date, and a balancing act: a mid-length EP with grand ambitions and scope, one full of new sonic elements and a cohesive aesthetic that hangs onto Knocked Loose’s trademark anthemic delivery. <br><br> It’s also pretty brutal. The tunes tell the story of a road trip gone wrong: a car accident, a passenger who passes away, survivors’ guilt, and a reunion in death. Musically, the narrative follows. The songs were written in order and speak to each other. On the opener, “Where Light Divides the Holler,” ambient sounds of a radio switching give way to a harsh, punishing breakdown. “Permanent,” the closer, is crushing, and ends in a majestic, almost soundtrack-like ring-out. In between there are new elements — guitars droning out, radio interludes, vocal-only suites — and the immediate heaviness listeners have come to expect from Knocked Loose. It’s hardcore, filtered through what Garris says is a more prominent death metal influence. The new sounds the band never tried before have the goal, guitarist Isaac Hale says, of making everything sound “more extreme and abrasive.” <br><br> Which is saying something. Young, but accomplished — along with Garris and Hale, there’s Kevin Otten (bass) and Kevin “Pacsun” Kaine (drums), everyone in their mid to late twenties — the band’s been trading on heaviness for a while. “We’ve written a lot of songs,” says Hale, “and a lot of breakdowns.” Their discography — along with Blue, there’s Laugh Tracks, from 2016, both on Pure Noise, as well as a demo and a handful of singles — is full of them. Every record up to A Tear has been very much hardcore, building off its predecessor, adding some metal and higher emotional stakes. More growth means more heaviness. Says Hale, “nothing gets taken away.” <br><br> So too with A Tear, which is a massive progression, but not a departure. The end result feels like a stress test: six songs that speak to each other in a language that’s equal parts Phil Spector and death metal and that balance the tension between technical mastery and catchiness. This is Knocked Loose, distilled, and taking a leap. The same band, more themselves, bigger and better.

KMFDM is a band of electronic music, of the industrial kind, they define their style as Ultra Heavy Beat. It was founded Paris in 1984 by Sascha Konietzko and the German painter Udo Sturm. The group was established in Chicago, Illinois in 1991, and then in Seattle, Washington in 1993.

Melvins are an American rock band whose early work was key to the development of both grunge and sludge metal. The band formed in 1983 in Montesano, Washington. They have mostly performed as a trio, as well as a quartet with either two drummers/bassists in recent years

<p>Prog-metal's best band returns with a record that may be even better than its monumental predecessor. Here, the songwriting technique is refined, built upon, and doubled up, pushing the ingredients fr...<br></p> <a href="http://pitchfork.com/reviews/albums/9426-blood-mountain/" rel="nofollow">Read more</a>

http://en.wikipedia.org/wiki/Orgy_(band) http://www.punkstatikparanoia.com/2004/biog.php

Metal / Rock

Being in a band can be a lot of things. It can be fun. It can be exciting. It gives you the chance to meet new people all the time. It lets you travel the country and, if you’re really lucky, the world with some of your closest friends. It can give you experiences that little else can. But it can also be hard work. It can be exhausting. It takes up a lot of time and energy. Because, if you do it for the right reasons, you put your entire heart and soul into it. You let it swallow you whole. That’s exactly what Superheaven did with its 2013 debut, Jar – released when the band was called Daylight – and it’s precisely what it has done with the follow-up Ours Is Chrome. Yet whereas the first record was inspired by and focused on the bad stuff that had recently happened, most notably the death of guitarist/vocalist Taylor Madison’s stepfather, Ours Is Chrome is very much about the trials and tribulations of putting everything you’ve got into being in a band and making it work. That’s something Superheaven – completed by guitarist/vocalist Jake Clarke, bassist Joe Kane and drummer Zack Robbins – know all about. “We're in the spot,” explains Madison, “where we're touring a lot and we're probably away more than we're home. We're making enough money to allow us to tour and do certain things, but the band doesn't pay our bills. Me and Joe are in our late 20s, and everyone else I went to school with that's our age is either married or has kids or has a career, and we kind of don't know what the fuck we're doing. So the title refers to how our lifestyle is chrome – to someone who doesn't really understand being in a band, to family members and people that you work with, if you're in a band then you might as well be famous. They don't understand there's way more that goes into it. It looks shiny on the outside and stuff, but it is what it is. I’ve been in bands my whole life and that’s all I have to do, so it’s a little bit of a scary thing to put so much time and energy into something and really not know what you’re getting out of it in the end.” That’s something that comes across perfectly in the music. Just listen to slow-motion melancholy trudge of “Room,” the post-grungey nuances of “Gushin’ Blood” and the epic, ominous catharsis of “From The Chest Down,” which careens and crashes with a fragile yet monolithic force. Produced – like the band’s debut – by Will Yip, Ours Is Chrome is an album that takes the insecurities it was made from and breathes powerful, affirmative life into them. “I’ve had numerous hardships my whole life,” says Madison. “I’ve been poor my whole life, my whole family’s been poor my whole life and I’ve never had anything given to me. That benefits me at least in how I conduct myself as a person. I don’t take anything for granted.” For Madison, the center of the record is “Leach,” a darkly shimmering song on which both he and Clarke share lead vocal duties, and which directly addresses exactly what this band means to its members. “It’s kind of about touring and being away a lot and not making a lot of money,” he explains. “My family’s not financially secure by any means, they haven’t been my whole life, and I definitely wish that I could do more to help my parents out, help my sisters out, financially speaking. I barely make money to survive, let alone help my mom pay rent or make a car payment or something like that and that’s definitely hard. And I think that sort of stuff weighs on your conscience. I think overall the record is almost apologetic. It’s asking for forgiveness from a lot of people – in my life, at least – just because I feel bad. I feel almost selfish sometimes, like I tour a lot and I’m not there that much and that sucks. And I feel that kind of thing isn’t talked about all that much, but it weighs on me a lot.” As such, Ours Is Chrome consists of eleven impassioned, emotionally heavy songs that drift effortlessly between genres and which channel the band’s insecurities and determination and sees the four-piece turn their feelings inside out to produce a collection of songs that are simultaneously confident and downcast, full of the emptiness of the world yet also resplendent. It’s a soul search, a quest for meaning that, somewhat ironically, is its own answer, its own salvation.

<b>SUNDAY, JULY 25</b> <br><br>The cream of the crop of metalcore are taking up a nice chunk of the roster on this year’s Heavy MTL festival but Norma Jean are hardly going to get lost in the high volume traffic. Despite a constantly shifting line up these Georgia peaches have managed to get heavier and more pummeling with every release. With recent collaborators from friends and fans like Helmet’s Page Hamilton and Deftones’ Chino Moreno 2010 should prove to be a big year for Norma Jean.<br><br><a href="http://www.normajeannoise.com/" rel="nofollow">http://www.normajeannoise.com/</a><br><br><a href="http://click.linksynergy.com/fs-bin/stat?id=XIr64PnrLOc&amp;offerid=162397&amp;type=3&amp;subid=0&amp;tmpid=3664&amp;RD_PARM1=http%253A%252F%252Fitunes.apple.com%252Fca%252Falbum%252Fthe-end-all-things-will-be%252Fid184657958%253Fi%253D184658199%2526uo%253D6%2526partnerId%253D30" rel="nofollow"></a>

Shoving a fist in the face of tradition has been Filter's modus operandi since the release of their self-produced debut album, Short Bus. The album's rough-around-the-edges production consisted of inebriated answering machine samples, lavish bass lines, and jagged guitars set to a backdrop of drum machines punctuated by the unfurling of Richard Patrick's vocal prowess and signature roar. Patrick, Filter's magnetic, profoundly intelligent nucleus and frontman jubilantly admits that his creative process is unorthodox, whether he's staring down and conquering new technology or coalescing with new bandmate and co-conspirator Jonny Radtke on Filter's current release, The Sun Comes Out Tonight. Patrick believes in adapting and improvising in the name of achieving results, fully aware of what he's rebelling against. He addresses his unconventional methods with utmost conviction in his voice, "Let's break the rules, let's put a finger up to the establishment and do something wrong. If William Shakespeare was alive today, he'd be using a word processor. He'd be copying and pasting. Does that change things? Yeah, but at the same time, it's flexible and different. It has to be done." This perspective is evident on The Sun Comes Out Tonight's lead single, "What Do You Say," an explosive track featuring Patrick's rousing howl, hypnotic synthesizers, smoldering guitars, biting lyrics, and the triumphant resurrection of the pulsating drum machines that cemented Filter's reputation for delivering a distinctive sound unlike any other band in existence. Patrick laughs, "It's all drum machine, just like Short Bus! I like that we're getting away with something that's wrong. There's almost this notion that someone like Skrillex is less of a talent because his music centers around making a computer do incredible things. Music is an interpretive art form." "The Only Way (Is The Wrong Way)" isn't merely a stand-out track from 2002 release The Amalgamut, it's an integral component of the career Patrick has fabricated with Filter as a truly capable multi-instrumentalist and vocalist hell-bent on releasing top-notch material and delivering electrifying, intense live performances. Patrick's many collaborations and side-projects have transcended the boundaries between rock, industrial, and electronic music by utilizing the talents of musicians Trent Reznor, Robert and Dean DeLeo, Ray Luzier, Josh Freese, John 5, The Crystal Method, Danny Lohner, Clayton Worbeck and Wes Borland. The Trouble With Angels, Filter's inaugural venture with producer Bob Marlette culminated in Patrick cleaning the slate and solidifying a new live band line-up before embarking on tour across North America and Europe in support of the album. Filter's affiliation with the organization Stars For Stripes allowed the band the honor of entertaining US troops on military bases in Kuwait, Iraq and Cuba's Guantanamo Bay Naval Base. Patrick, a fervent supporter of the men and women serving the United States, takes immense pleasure in meeting and performing for deployed fans; he and his bandmates gained deeper insight into the lifestyle those serving face on a regular basis when the band survived rocket attacks in Kirkuk, Iraq. The Sun Comes Out Tonight heralds the return of Marlette in the roles of producer and co-writer, and marks the introduction of Filter's newest addition, co-writer, and guitarist, Jonny Radtke. Hailing from Chicago, Illinois, Radtke's rapturous vocals and elegantly furious guitar playing mesh expertly with Filter's ambiance. "Jonny is the little brother-slash-guitar player I never had, he's just incredibly talented," Patrick affectionately admits. "Because of his talent and my connection with him, it was such a joy to make this album, it's a very inspired record. The chemistry was there. I really can't say enough about Jonny." Radtke's own predilection for rebellion and versatility are hallmarks of his own one-man musical project, the ethereal Polar Moon. Prior to joining Filter, Radtke's guitar stylings were best known for gracing the stage with his previous band, Kill Hannah, and the live incarnation of Ashes Divide, led by Billy Howerdel of A Perfect Circle. Patrick proclaims, "It's a new guitar player, a new label - we're so grateful we signed with Wind-up Records, [label co-owner and Chief Creative Officer] Gregg Wattenberg is so supportive, the label is amazing; it's a whole new idea. It was so easy to be angry on this record, there are songs about betrayal and pure evil, there's so much heavy stuff [on this record] but there's moments of light, songs about happiness and love. It's our analysis of the human condition." Tracks "What Do You Say", "This Finger's For You" and "We Hate It When You Get What You Want" seethe with vicious guitar riffs, blasting beats, Radtke's lilting background vocals, Patrick's gruff delivery, and captivating choruses that were made to sing along to. "With our first single, 'What Do You Say,' it's about all the noise - noise from the media, people talking and having so much to say but not really listening," Patrick thoughtfully states. One of the album's brightest moments of light comes courtesy of the shimmering, euphoric "Surprise," a track reminiscent of the delicate song structure that made runaway hit "Take A Picture" one of Filter's most beloved offerings. The whimsical "First You Break It" draws you in with lush guitars and surging harmonies. The lyrics for "Watch The Sun Comes Out Tonight" paint an intimate portrait of Patrick's adventures at age 22 wandering around under the influence of psilocybin in the chill of Cleveland, Ohio late at night. "We'd search for things to look at, something that would trigger a profound thought of some kind," Patrick recalls, "I love writing about those times; I was young and angry but optimistic at the same time. Gregg Wattenberg took all of what he loved about early Filter and reminded me of it, he was like, 'you need to get back there and do what you do!', I've always been about pressing forward and stretching my audience's imagination but there's got to be a point of reflection." The Sun Comes Out Tonight's synthesis of tools from the band's past and brand new attributes facilitate the stereophonic assault that only Filter circa 2013 can deliver

Twin Tribes is a dark synth duo based in Brownsville, Texas. Formed by Luis Navarro (vocals, guitar, synths, drum machines) and Joel Niño, Jr. (bass, synths, vocals) in 2017. The band gathers their influences from the dark side of the 80s. Darkwave, post-punk and cold wave are only some of the genres that the band summons using analog synthesizers and drum machines. Dark melodic sounds, lyrics of the undead, the occult and parallel universes are what conjure Twin Tribes.

The founding force and career-long creative core of Failure consisted of multi-instrumentalists Ken Andrews and Greg Edwards, a '90s songwriting team practically unrivaled within the claustrophobic confines of post-grunge American rock. The two constantly switched guitar and bass duties in the studio while Andrews took lead vocal duties on the group's three recordings -- Edwards has been credited in interviews with having come up with most of Failure's lyrics. When the group performed live, Edwards played bass while Andrews managed most guitar duties, but in the studio, they would interchange often, with Edwards adding keyboard work and even some drumming. As the group matured and their recording chops sharpened, Andrews became the band's producer/engineer and even began selling his services in this capacity with fine results. Failure was handed near-universal critical praise for their songwriting and sparse, yet cinematic musical arrangements. Their music certainly owed something to song-driven, moody artists like Nirvana and Stone Temple Pilots, but Failure also had many melodic and thematic qualities that were unique and compelling. Failure was both grounded in a heavy breed of pure pop and ambitious experimentalism -- the combination of which defies description just as it exudes an instant familiarity. It all amounted to a rare and sweet form of rock artistry.

THE SHOCKING STORY OF A WEIRD GROUP OF MUSICIANS!